Author: uselesstoys

make the header stay

The menu bar that appears to follow you is a popular trick on most websites nowadays and actually really easy to do in CSS.

First, figure out what component you want to stay at the top of the page and in its css attributes, I’ll use the header for example.

make sure in HTML you use <div class= “header”> and not simply the <header> tag



setting the position to “fixed” means that it stays put on the page. After that, voila! your header stays atop the page no matter how long you scroll.






Tank Magazine is a British publication that is very much dedicated to the power of print media. Their website, instead of railing against the flashiness technology affords us, utilized flash elements to create a page that emulates the look and feel of a print magazine. When the page first opens a viviid and large cover photo flips around revealing the issue’s table of contents. clicking each article prompts a smooth drop down feature in which you can read the articles in their entirety. The site oozes with minimalist influences as the courier font on whte backdrop make for a text document feel.

The minimal graphic elements work to keep he site focused on the text. Very often on the Internet, content is sacrificed for visual aesthetic.Tank Magazine manages to frame their aesthetic around the strength of the writing looking at the page has the same effect as reading the new yorker, you can step back and simply marvel at it.

Each section of the site very subtly embeds video and image to do the one thing that print cannot do, be interactive. These elements never feel overwhelming and there is a sense that the audience is being incentivized to read the full stories before watching any video or browsing through photos. The magazine’s owner is a strong proponent o print and the website, at every opportunity, reminds you of the exclusive content in the magazine. The design is so appealing that getting paid subscriptions doesn’t seem to be a problem.


The House that Heaven built


The ruins are framed as if there’s nothing else, as if this building, symmetrical and dilapidated, was an endless fixture in a space in time. The pattern of windows, unflinching in their uniformity, frame the image so that the “Ricky Eddie” quietly becomes the focus of the piece. The city of Detroit leaves many of these structures behind, except most of the time, they stay hidden beneath the national conversation about the economy. Rarely are the abandoned ruins, the Ricky or Eddie in question, thrust into full view like they are in the photo. 

This detail shot fits in the essay because it in a lot of ways overwhelms you at first sight. Every small nuance of the building, in full view, become miniature narratives, the photo is the essay, detailing the complexity of the subject.

The audience sees this picture and immediately searches for the description, learning this is a train station is the moment the photo essay begins to matter, the “why” of the piece. The growing concern with the future of the economy makes the the United states of old, the U.S characterized by a thriving middle class, seem like a distant memory of an unretrievable past. 

In a lot of ways the image forces that oft-uncomfortable reality on to the viewer.

“Sampling is a new way of doing something that’s been with us for a long time: creating with found objects. The rotation gets thick. The constraints get thin. The mix breaks free of old associations. New contexts form from old. the script gets flipped. The languages evolve and learn to speak in new forms, new thoughts. The sound of thought becomes legible again at the edge of the new meanings. After all, you have to learn a new language. take the idea and fold it in on itself. Think of it as Laptop Jazz, cybernetic jazz, nu-bop, ILLbient- a nameless, formless, shapeless concept given structure by the rhythms. And that’s a good start.


In the hip-hop community there is a school of thought vehemently opposed to sampling, calling it lazy and rudimentary. “Learn some Fu**ing chords,” Tyler, the creator tweeted once. I take issue with the idea that originality can somehow morph into remixing. Sure, I’ll concede that what Girl Talk, and similar mash-up artists do is clever, and sometimes interesting, but it doesn’t compare to creating something. I think the argument that every melody we could make is a remix of something else is short-sighted in that it doesn’t account for the nuances of someone specifically playing a tune. Cover bands never sound like the original.

Alot of the intellectual talk around remix culture and the effects of the internet on creativity still fail, in my opinion to come remotely close to understanding how quickly things move. the artists being talked about most on the internet now are returning to ‘classic’ form with familiar guitar melodies filtered through a generation who had the internet. I’d argue that this isn’t remix. The first bolded portion is where my problem lies. Marvin Gaye is suing Robin Thicke for stealing his melody for the track ‘blurred lines,’ the context of that melody is forever associated with the former now, that is doing more than a disservice to Marvin.

The Science of Stupidity

Jeff Ihaza

To Halberstam, Miller’s concern with remix culture would be considered an exploration of low forms of culture, perhaps even silly. Miller would point to the allure of remix’s rise in the information age as a response to a changing set of circumstances as a digitized archive produces more democratized tools for expression. Miller’s fascination with the altered identities in digital spaces would, to Halberstam, be an interesting point of conversation. In Halberstam’s interview, he describes his book Dude, Where’s my Theory, as an intentional play on the cultural value of ostensibly low forms of culture. He takes as similar perspective with animation. All of these things, for Halberstam, are examples of the varied forms of archives from which we pull from. Miller sees something more universal in these forms of expression; he concerns himself with the machinations of this culture as opposed to Halberstam’s disconnectedly academic assessment of them. Miller writes,

“There’s always more than one map to the territory: You just have to intuit the terrain…Play your hand, find out what the dealer deals. The rest is remix.”

For Miller, the proliferation of remixed music and identities is, on a large scale, a reflection of the inherent code of our social structure. Both seem concerned with the idea of an inherently valuable quality to the art of the everyday.

On the subject of the third part of his book, Animation, Halberstam writes

“…An easy way, sort of ready at hand – so that we see that the alternative is all around us, rather than being in some arcane set of political practices that are still to be imagined.”

Miller’s assessment of the remix follows Halberstam in that it acknowledges the importance of thinking differently but Miller perhaps would take issue with Halberstam’s rigid taxonomy for forms of knowledge or epistemology